The Middle East: This is a book of approximately 60 vellum pages hand written in black and red ink with a few illustrated separators and an angelic figure at the rear. The writing is Ge'ez, an Afro-Semitic language used in the Ethiopian Tewadeho Coptic Church. It is most likely a Coptic Christian religious text . It was likely produced between 1000 - 1500 AD but could possibly be later. It is bound between wood boards which are tied on with cord. It is in reasonably good condition with a few pages showing some edge soiling or foxing. This is an early bound book. It measures 5 3/4" tall by 4" wide by 1 1/2" across the spine. My thanks to "digmeister" who is apparently a linguist and can read Coptic, for identifying the language used in this book.

Limited Editions Club, New York. 8vo. LIMITED EDITION, one of 1500 copies. SIGNED by Warde at colophon and Alice Hargreaves at blank following half-title. Full morocco; a.e.g. Some offsetting from turn-ins to endpapers. A little rubbing to spine, chipping to head and tail; scotch tape 'repair' across break through title. Backstrip detached at rear joint, with narrow chip to a couple inches near head of spine. Some rubbing to edges and fore-corners of boards. Housed in slipcase for 'Through The Looking Glass'. Minor soiling to slipcase; some rubbing to edges and corners. VG in VG slipcase. [Attributes: Signed Copy; Hard Cover]

AN INTIMATE AND COMPLETE VOLUME OF COURTLY LOVE POETRY MADE FOR A MEMBER OF THE FRENCH ROYAL COURT. Manuscript on parchment, in French, France, Paris(?), c. 1500-1515(?). Dimensions 170 x 107 mm. 61 folios, in calligraphic scripts by at least three scribes in sixteen long lines, one-line gold initials on blue or red grounds at the beginning of each rondeau. BINDING: Bound by Chambolle-Duru in late nineteenth-century brown morocco, gilt edges. TEXT: A collection of 122 rondeaux, a popular poetic form in late medieval and Renaissance France, likely all composed in the late fifteenth to early sixteenth century. It brings together the work of several well-known Renaissance poets, one of whom may have supervised its production. Two poems in the collection are unpublished and unrecorded. Several of the poets were affiliated with the courts of Charles VIII (reigned 1483-1498) and Louis XII (reigned 1498-1515) and wrote with the patronage of the king and other members of the court. Of the approximately twenty extant collections of rondeau, most are in European institutions. Only three comparable manuscripts have been on the market in the last century, one of which is substantially shorter. Compared to the most recent of these the present manuscript stands out as a particularly fine specimen, with larger pages, and thus more widely spaced script and more illumination on each page. PROVENANCE: Script and decoration indicate that this book of poems was produced in France, almost certainly Paris, in the early sixteenth century. Belonged to the Vicomte family of Normandy. Later in J
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Manuscript, unpublished: Excellent for its approximately 400 year age. Pages are fresh and clean with only expected light toning. Polished full vellum binding is solid with only expected light surface wear and soiling. Missing only the vellum ties. Collated complete. "Spiritual Lessons for a Religious Person by consideration of ye conditions of Wedlocke...A way for them to exercise them perpetually..." Original manuscript on paper consisting of 74 leaves in English, 71 of which are written recto and verso in one neat Italian hand in the style of late 1500s-early 1600s. 13 blank leaves beyond the last page of text. Dimensions in inches: 4 1/8 wide x 6 1/8 high x 1 1/8 thick. Unpaginated but collated complete based on the catchwords. Original polished "Dutch" vellum, 8vo., lacking only the vellum ties. Old c. 1920s book sales catalog entry pasted in at second blank leaf. Pencil inscription dated 1902 on inside of front board. Pen monastery ex libris on recto of first blank. Two four leaf clovers pressed between blank endpapers. Several small hand-drawn and cut paper flowers found between pages. English Catholic manuscripts from this period are extremely scarce, owing to the persecution of English Catholics that began in the 1500s. Catholicism was tolerated under James I (1603-25) and enjoyed a minor revival under Charles II (1660-85). However, the historical context for this book is much more complicated. See the Wikipedia article "Catholic Church in England and Wales" for a nice summary. This book was made for use in a monastery in England, or more likely the Low Countries,
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Impressum Venetijs : P[er] magistrum Petru[m] de Pare[n]ghis Pergome[n]se[m], Venice: 1500., 1500. [176] p. Lacks first leaf, which had only two title lines; a few other leaves with very slight loss. Latin text. 4to. 220 mm. Attractive half leather binding; slight wear at extremities. Binding by Roger de Coverly and Sons. Roger de Coverly, was a late nineteenth century London binder. Cobden-Sanderon studied binding in his shop in 1883, and in 1894, the year that Cobden-Sanderson established the Doves Bindery, Charles McLeish the younger was apprenticed to de Coverly, who was then working with his two sons. This work was attributed to Saint Albertus Magnus (1193?-1280), but likely by Hugo Argentinensis (Hugh Ripelin of Strasburg) [1205?-1270?], the Compendium Theologicae Veritatis was one of the most widely read manuals of practical theology. Giving an abstract theological context for practical advice on living a Christian life. At least 800 manuscripts survive, as well as fourteen incunabula editions. It was translated into French, German, Dutch, Italian and Armenian. The influence of the Compendium was especially strong in Germany and the Empire, but can be discerned across Europe: from the works of Dante to those of the English mystic Richard Rolle; to the author of an Icelandic penitential manual. Knowledge of its author's true name, Hugo Ripelin (Hugo Argentinensis of Strasbourg), was not widespread and Hugo's name did not appear in any of the printed editions. Hugo, therefore, fell into obscurity as his enormously popular work was attributed to his Dominican contempora
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AN INTIMATE AND COMPLETE VOLUME OF COURTLY LOVE POETRY MADE FOR A MEMBER OF THE FRENCH ROYAL COURT. Manuscript on parchment, in French, France, Paris(?), c. 1500-1515(?). Dimensions 170 x 107 mm. 61 folios, in calligraphic scripts by at least three scribes in sixteen long lines, one-line gold initials on blue or red grounds at the beginning of each rondeau. BINDING: Bound by Chambolle-Duru in late nineteenth-century brown morocco, gilt edges. TEXT: A collection of 122 rondeaux, a popular poetic form in late medieval and Renaissance France, likely all composed in the late fifteenth to early sixteenth century. It brings together the work of several well-known Renaissance poets, one of whom may have supervised its production. Two poems in the collection are unpublished and unrecorded. Several of the poets were affiliated with the courts of Charles VIII (reigned 1483-1498) and Louis XII (reigned 1498-1515) and wrote with the patronage of the king and other members of the court. Of the approximately twenty extant collections of rondeau, most are in European institutions. Only three comparable manuscripts have been on the market in the last century, one of which is substantially shorter. Compared to the most recent of these the present manuscript stands out as a particularly fine specimen, with larger pages, and thus more widely spaced script and more illumination on each page. PROVENANCE: Script and decoration indicate that this book of poems was produced in France, almost certainly Paris, in the early sixteenth century. Belonged to the Vicomte family of Normandy. Later in J
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c.1500 Pope Pius II Papal Handwritten Manuscript TURKS Ottoman Empire Mehmet Turn the anger of the Almighty against the godless Turks and Barbarians who despise Christ the Lord  Pope Pius II An exceedingly rare handwritten manuscript describing the election and reign of Pope Pius II in 1458. This summary was written by an anonymous hand but the watermark and other forms lead to this being written around circa 1500-1550. Below is a complete English translation of the 28 leaf journal. This work discusses more than just the election of the Pope but also discusses his actions against the Turks and Turkish Sultans. Pius II was adamant that Mehmet II become a Christian and urged him to do so in personal letters. Unfortunately, wars against Mehmet II became imminent. Item number: #2574 Price: $2500 Pope Pius II The death of Pope Callistus III, and the creation of Pope Pius II, in the year of our salvation 1458 ca. 1500 Details:  Collation: Complete with all leaves o [1], 27, [1]  Language: Latin  Binding: Leather; tight & secure; professionally bound  Size: ~13in X 8.75in (33cm x 22.5cm) Our Guarantee: Very Fast. Very Safe. Free Shipping Worldwide. Customer satisfaction is our priority! Notify us with 7 days of receiving, and we will offer a full refund without reservation! When Alfonso, King of Aragon and Sicily, lay dying, he instituted as his heir his illegitimate son Ferdinand, whom Popes Nicholas and Eugenius had rendered capable of this. He charged Ferdinand to give 60,000 pieces of gold toward an expedition against the Turks. After his death, all the princes and citi
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AN INTIMATE AND COMPLETE VOLUME OF COURTLY LOVE POETRY MADE FOR A MEMBER OF THE FRENCH ROYAL COURT. Manuscript on parchment, in French, France, Paris(?), c. 1500-1515(?). Dimensions 170 x 107 mm. 61 folios, in calligraphic scripts by at least three scribes in sixteen long lines, one-line gold initials on blue or red grounds at the beginning of each rondeau. BINDING: Bound by Chambolle-Duru in late nineteenth-century brown morocco, gilt edges. TEXT: A collection of 122 rondeaux, a popular poetic form in late medieval and Renaissance France, likely all composed in the late fifteenth to early sixteenth century. It brings together the work of several well-known Renaissance poets, one of whom may have supervised its production. Two poems in the collection are unpublished and unrecorded. Several of the poets were affiliated with the courts of Charles VIII (reigned 1483-1498) and Louis XII (reigned 1498-1515) and wrote with the patronage of the king and other members of the court. Of the approximately twenty extant collections of rondeau, most are in European institutions. Only three comparable manuscripts have been on the market in the last century, one of which is substantially shorter. Compared to the most recent of these the present manuscript stands out as a particularly fine specimen, with larger pages, and thus more widely spaced script and more illumination on each page. PROVENANCE: Script and decoration indicate that this book of poems was produced in France, almost certainly Paris, in the early sixteenth century. Belonged to the Vicomte family of Normandy. Later in J
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AN INTIMATE AND COMPLETE VOLUME OF COURTLY LOVE POETRY MADE FOR A MEMBER OF THE FRENCH ROYAL COURT. Manuscript on parchment, in French, France, Paris(?), c. 1500-1515(?). Dimensions 170 x 107 mm. 61 folios, in calligraphic scripts by at least three scribes in sixteen long lines, one-line gold initials on blue or red grounds at the beginning of each rondeau. BINDING: Bound by Chambolle-Duru in late nineteenth-century brown morocco, gilt edges. TEXT: A collection of 122 rondeaux, a popular poetic form in late medieval and Renaissance France, likely all composed in the late fifteenth to early sixteenth century. It brings together the work of several well-known Renaissance poets, one of whom may have supervised its production. Two poems in the collection are unpublished and unrecorded. Several of the poets were affiliated with the courts of Charles VIII (reigned 1483-1498) and Louis XII (reigned 1498-1515) and wrote with the patronage of the king and other members of the court. Of the approximately twenty extant collections of rondeau, most are in European institutions. Only three comparable manuscripts have been on the market in the last century, one of which is substantially shorter. Compared to the most recent of these the present manuscript stands out as a particularly fine specimen, with larger pages, and thus more widely spaced script and more illumination on each page. PROVENANCE: Script and decoration indicate that this book of poems was produced in France, almost certainly Paris, in the early sixteenth century. Belonged to the Vicomte family of Normandy. Later in J
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AN INTIMATE AND COMPLETE VOLUME OF COURTLY LOVE POETRY MADE FOR A MEMBER OF THE FRENCH ROYAL COURT. Manuscript on parchment, in French, France, Paris(?), c. 1500-1515(?). Dimensions 170 x 107 mm. 61 folios, in calligraphic scripts by at least three scribes in sixteen long lines, one-line gold initials on blue or red grounds at the beginning of each rondeau. BINDING: Bound by Chambolle-Duru in late nineteenth-century brown morocco, gilt edges. TEXT: A collection of 122 rondeaux, a popular poetic form in late medieval and Renaissance France, likely all composed in the late fifteenth to early sixteenth century. It brings together the work of several well-known Renaissance poets, one of whom may have supervised its production. Two poems in the collection are unpublished and unrecorded. Several of the poets were affiliated with the courts of Charles VIII (reigned 1483-1498) and Louis XII (reigned 1498-1515) and wrote with the patronage of the king and other members of the court. Of the approximately twenty extant collections of rondeau , most are in European institutions. Only three comparable manuscripts have been on the market in the last century, one of which is substantially shorter. Compared to the most recent of these the present manuscript stands out as a particularly fine specimen, with larger pages, and thus more widely spaced script and more illumination on each page. PROVENANCE: Script and decoration indicate that this book of poems was produced in France, almost certainly Paris, in the early sixteenth century. Belonged to the Vicomte family of Normandy. Later in Jean
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Imprinted at London, by George Bishop and Ralph Newberie, Deputies to Christopher Barker, printer to the Queenes most excellent Maiestie,1589, 1500. Divided into three severall parts, according to the positions and the Regions whereunto they were directed. FIRST EDITION 1589. DEFECTIVE COPY LACKING THE FOLDING MAP AND 19 LEAVES, 8 REPLACED WITH FACSIMILES. Small folio bound in sixes, approximately 280 x 180 mm, 11 x 7 inches, pages: [8 of 16], 1--501, [502 - blank], 508-643, (12), 644-823, [10 of 12)], pictorial initials, marginal side notes, text printed in black letter and roman, pages 24-80 Travels of Mandeuil in Latin and another short chapter in Latin. The 12 unnumbered pages between 643 and 644 contain "THE FAMOUS VOYAGE OF SIR FRANCIS DRAKE INTO THE SOUTH SEA". Bound in brown full modern crushed morocco, gilt lettering to spine, gilt top edge, marbled endpapers. LACKING A TOTAL OF 38 PAGES: 16 prelim pages, pages 85/86, 95/96, 503/507, 792/793, 824/825 and 8 index pages, also lacking 2 blanks, (first 4 leaves and 4 Index leaves at rear supplied in facsimile on thick stock including title page) some misnumbering. The 12 unnumbered pages between 643 and 644 contain "THE FAMOUS VOYAGE OF SIR FRANCIS DRAKE INTO THE SOUTH SEA". 51 pages have repairs of various sizes mostly to margins and corners, sometimes affecting the running titles and page numbers, 6 of these have small loss to text, except page 823 which has the first words missing from 24 lines and the one original index page which is lacking the top line and most of the second on recto and verso and a few other wor
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Venice: Bartholomaeus de Zanis, 10 November, 1500. The Preparation for the Gospel is a significant work by Eusebius Caesariensis (AD 260/265 Ð 339/340), who is best known for writing the first surviving history of the Christian Church as a chronologically-ordered account, complete from the time of the Apostles to his own time. The Preparation is an introduction to Christianity for pagans, in which the author attempts to prove the excellence of Christianity over pagan religion and philosophy. Its fifteen books have been completely preserved. For later readers, it is of particular value because it contains added information from historians and philosophers which is not available elsewhere, including excerpts from the writings of Porphyry, the Phoenician priest Sanchunianthon, the Platonist philosopher Atticus and the Middle Platonist philosopher Numenius of Apamea Folio. 65, [1] ff. Complete with the final blank. Woodcut initials throughout. Nineteenth century half vellum over boards, covered with printed leaves from an incunabulum. Covers lightly soiled, bookplate removed from front pastedown, first leaf with contemporary ownership inscription. With early fabric tabs or remains of fabric tabs at twelve places in the text. A very good, clean copy, preserved in modern brown cloth clamshell slipcase. The sixth and final fifteenth-century edition of Eusebius's Preparation of the Gospel, first published by Jenson in 1470. Goff E123. BMC V, 345, Hain 6707. GW 9445. ISTC ie00123000 notes ten copies in North America. [Attributes: Hard Cover]

France (Paris?), c. 1500. Single leaf, 110 x 105 mm, hand painted miniature heightened in gilt, very fine. A large cutting from: Gloria In Excelsis Deo. France (Paris?), c. 1500. Single leaf, 110 x 105 mm, hand painted miniature heightened in gilt, very fine. A large cutting from a Book of Hours or Choirbook. Mary and Joseph adore the infant Jesus within an enclosure of masonry combining Gothic (Middle Ages) and Classical (Roman) features. The shepherds join in their adoration from the far side of a low wall. Behind them are bushes, rolling countryside and a distant tower. Above them an angel holds a scroll bearing the message: Gloria In Excelsis Deo, the whole within a gold frame. The Style combines primary colors in the charactersâ€™ garments but modeled in various tones, with a variety of naturalistic shades in the landscape and foreground. The tentative attribution to Paris is based upon the more fluid and softer style as compared to that used in, for example, Rouen or Tours, which witnessed a large, end of century upsurge in miniature painting under the inspiration of Jean Bourdichon and Jean Poyet, both of whom used stronger outlines and a more liberal use of liquid gold. The painter of this Adoration does not use a known model and is original in the way the figures are distributed in both Gothic and Classical ruins.

France (Paris?), c. 1500. Single leaf, 110 x 105 mm, hand painted miniature heightened in gilt, very fine. A large cutting from a Book of Hours or Choirbook. Mary and Joseph adore the infant Jesus within an enclosure of masonry combining Gothic (Middle Ages) and Classical (Roman) features. The shepherds join in their adoration from the far side of a low wall. Behind them are bushes, rolling countryside and a distant tower. Above them an angel holds a scroll bearing the message: Gloria In Excelsis Deo, the whole within a gold frame. The Style combines primary colors in the characters garments but modeled in various tones, with a variety of naturalistic shades in the landscape and foreground. The tentative attribution to Paris is based upon the more fluid and softer style as compared to that used in, for example, Rouen or Tours, which witnessed a large, end of century upsurge in miniature painting under the inspiration of Jean Bourdichon and Jean Poyet, both of whom used stronger outlines and a more liberal use of liquid gold. The painter of this Adoration does not use a known model and is original in the way the figures are distributed in both Gothic and Classical ruins.